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| Introduction: Opening the Doors Cast and Crew Prelude Journal 2: ACT 1: Blacklisted! March 6 (Day 2) March 9 (Day 3) March 10-11 (Days 4-5) March 12-13 (Days 6-7) Journal 3: ACT 2: Welcome to Ferndale! March 20 (Day 9) March 21 (Day 10) March 22 (Day 11) March 23 (Day 12) Journal 4: March 26 (Day 13) March 27 (Day 14) March 28 (Day 15) March 29 (Day 16) March 30 (Day 17) Journal 5: April 2 (Day 18) April 3 (Day 19) April 4 (Day 20) April 5 (Day 21) April 6 (Day 22) Journal 6: April 8 (Day 23) April 9 (Day 24) April 10 (Day 25) April 11 (Day 26) April 12 (Day 27) Journal 7: April 16 (Day 28) April 17 (Day 29) April 18 (Day 30) April 19 (Day 31) April 20 (Day 32) April 23 (Day 33) April 24 (Day 34) April 25 (Day 35) April 26 (Day 36) Journal 8: April 30 (Day 37) May 1 (Day 38) May 2 (Day 39) May 3 (Day 40) May 4 (Day 41) May 7 (Day 42) May 8 (Day 43) Journal 9: May 10-11 (Days 44-45) May 14 (Day 46) May 15 (Day 47) May 16 (Day 48) May17 (Day 49) May 18 (Day 50) Journal 10: May 21 (Day 51) May 22 (Day 52) May 23 (Day 53) May 24 (Day 54) May 25 (Day 55) Journal 11: May 29 (Day 56) May 30 (Day 57) May 31 (Day 58) June 1 (Day 59) |
Journal 8 May 8 (Day 43) A new “one-line” shooting schedule awaits us as we pile onto the famous Skunk Train in Ft. Bragg for what some of the crew look upon as a field trip. It is amusing to watch a crew devour information on revised shooting schedules -- they always turn to the last page to see what wrap date is being published, kind of like reading the final page of a novel before actually beginning the new book. All that aside, our final day in Mendocino County is spent on a picturesque ride through the Redwood Forest for three sequences spotlighting Peter Appleton on his way back to Los Angeles to testify before the H.U.A.C. Sorry to report again, but providing any more detail would be irresponsible. We do want you to see the movie this December. The nine-car train (bookended by locomotives, allowing a back-and-forth route about five miles outside of Ft. Bragg) pulls out of the depot at 10:00 a.m., two hours after the company has loaded their equipment for today’s shoot.  Carrey’s camp occupies one full car for makeup touch-ups. One flatbed car carries much of the grip and electrical equipment, while the forty extras are scattered throughout three connecting cars. The “picture” or “hero” car (smack dab in the middle of the entire train) is where Frank will stage the three scenes, two of which feature actor Garfield. Back in 1951, filmmakers would have staged such a sequence on a sound stage using an antiquated process called “rear screen projection.” A train car would have been mounted in front of a movie screen on which scenic backdrops (per the director) would be projected. Today’s filmmakers prefer a more realistic look, thus our siege of the Skunk Train. Location maven Enke recalls scouting the site last fall in two ways -- actually riding the locomotive on its complete route (so they could ascertain exactly where the scenes could be staged), then scouting the entire area by helicopter, thus allowing an overview of the circuit. Today’s plan will keep the entire crew on the train until all three scenes (comprised of five separate camera setups) are complete. Such decisions are made by a.d. Colwell and producer Behnke, conferring with Frank, who agrees that the best province would be to shoot the scenes out before breaking for a meal. Following our adventure on the Skunk Train, we are once more scheduled to hit the lighthouse for one last sunset shot. The train leaves the depot, rumbling along the tracks for about five miles before stopping in the middle of the regal Redwood forest. A group of grips and electricians hop off to mount a rig called a “hostess tray” onto the side of the train at the exact place where Carrey’s character is seated. If you've ever eaten at a drive-in restaurant (like that portrayed in George Lucas1 1973 classic, “American Graffiti”), this special rig resembles that tray attached to your car window which holds the food. Our tray holds a light with a silk attached to cut its intensity on the actor. While loading onto the train a bit earlier, the grips were also busy laying down dolly track in the passenger car aisle for the first shot, a dolly move along the car as we pick up Appleton, seated, reading a letter given to him at the station by Doc Stanton. Because of the tight quarters, only those crew necessary are invited into the “hero” compartment. Others (extra extras and assorted crew) find a seat elsewhere on the train and relax for the next several hours while the train rumbles through the dense brush of the Redwood forest. When the camera is turned around for a different angle, the train pulls to a halt, giving the crew an assortment of verdant backdrops against which impromptu crew photos are snapped. Some last-minute photos were also taken back on the bluff by the Point Cabrillo lighthouse as crew took a moment to capture the majestic backdrop as our final hours here ticked away. The production’s second act was about to end. The crew (comprised mostly of Angelenos) seemed anxious to get back home to sleep in their own beds. Later in the day, the sunset is somewhat obscured by a haze hanging over the ocean, and Frank subsequently cancels the one setup with actors Carrey and Holden due to the undesirable weather. Before heading back to their trailers, Laurie poses for several shots with “on-set dresser” Charlie Nicholson and hairstylist Paskowitz, an avid photographer, who always carries a camera for scrapbook memories. Tomorrow is a travel day back to Los Angeles, where we resume filming the next night, the first of two all-nighters scheduled at the remote Disney Golden Oak Ranch in the Santa Clarita Valley outside of the city. |
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